• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Imagine that you are the director of ‘Request Stop’ ; think of two different interpretations, and give advice to the actress as to how to play the main role.

Extracts from this document...


Request Stop - By Harold Pinter G.C.S.E 20th Century Drama Coursework. Imagine that you are the director of 'Request Stop' ; think of two different interpretations, and give advice to the actress as to how to play the main role. Request Stop is a short sketch written by Harold Pinter, a political poet, author, and playwright. This particular piece was written in 1953. A typical bus queue of the period would have been much the same as today, quiet and fairly antisocial, with people hiding behind broadsheets and magazines. The modern bus queue is boring. Nobody talks, except maybe for friends who are waiting, and everybody seems to not want to be there. The woman at the bus stop is somewhat of a mystery. There are a great many things that she could be. She could be an entertainer, livening up a bus queue by talking to everyone and anyone (even though she talks to one man, the whole queue is hearing her). She seems fun, lively, and talkative with her confident outbursts and taking offence at the smallest thing, then making a scene about it. Taking the idea that she is an entertainer, how would be advise the actress as to how to play the role? ...read more.


The second possibility for the character of the woman, is that she is a sad character, and this is a tragic sketch. The title of the play fits in with this (Request stop, beggars request, or beg, for things.), it may have a double meaning. The woman could be requesting a number of things. Money, gifts, possibly conversation or friendship. The entire play's structure is based upon a request, then a pause, "I beg your pardon, what did you say? Pause," and "Who do you think you are? Pause." She talks more after each pause, with the height of her tirade reaching eight lines. The people ignoring her aggravating and antagonistic behaviour seem to suggest that she is socially alienated. This point is lent credence by the fact that, whilst her character is called 'Woman', another female character is referred to as 'Lady' (it is important to note that the woman also refers to her as 'lady'.). Since she is being ignored, she seems to create a two way conversation where perhaps one doesn't exist, "Ask a man a civil question..." The people on the bus queue also seem desperate to escape her. The lady pays a lot more for a taxi to escape the attentions of the woman when she is asked to be a witness, much to the woman's annoyance, "We know ...read more.


If she is a tramp then layers of torn clothing would be appropriate. Her energy would come in bouts - she could be loud one minute, and quiet the next. Also her mood would change from one emotional extreme to the next, if she is an alcoholic or a mentally ill person. She could be placid at the beginning, then infuriated at the next sentence, then back to passive again later. She does not seem to be in control of herself, or the environment around her. This could be shown by the actress playing with her hair, or pulling sleeves on her shirt. Her running back to the front of the line near the end seems to be her attempt to insert assertiveness into her life, which suggests she leads a lacklustre life. The actress could bring this out. In conclusion, I would probably direct the actress and advise her to play the Sad/Tragic aspect of the character. It seems to fit the piece better, and leaves a lot more scope for acting than the street entertainer option. The play would seem a lot more believable, and would relate to modern day life a lot better, especially with today's audience. Because we have all been one of the queue at one point or another in our life, and this serves as a bitter reminder of that. James Rundle, 11.3T Page 1 of 2 ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Explain how you would want your audience to respond to Tesman in Hedda Garbler. ...

    Now it is made clear that he has already spent up to the hilt and is counting on getting his professorship to keep up paying for their new lifestyle. Further alarm bells ring when Miss Tesman first mentions Eilert as `the man who was your most dangerous rival.'

  2. 1. How did your role emerge and how was it communicated?

    side and a doll side as she is only half way through her journey. My character breaks down, worrying about her future as a mail-order bride, with the other bride reassuring me that everything is fine. With this image, it shows that the mail order bride industry gives a false

  1. Historical and Textual Research of Harold Pinter

    His manipulation and control of all other characters and the hinting of both paedophilia and sadomasochism create a sense of fear, desire and fascination among the audience, proving that Barrett is the underlying 'puppet master' of the film. He later brings in his sister Vera, whose control he has full

  2. a beggars opera

    help of Weill's musical score, one of the most popular plays in the world. He turned the Swashbuckler "Macheath" into an anti-hero, a common criminal and product of the time, but still seemed to arouse the audiences' pity. From Moscow and Berlin to New York, this play has stood the

  1. If there is such a thing as naturalistic acting, why do you think it ...

    throws her onto a bed leading, we believe, to him raping her. In contrast as Malloy we see his childlike nature as he attempts to win the female leads affection, again mumbling but in a softer tone with less aggression.

  2. How do you think that Peter Brook has employed the ideas/techniques of the practitioners ...

    To my mind, it is just the opposite. I would say that the process consists not of two stages but of two phases. First: preparation. Second: birth. This is very different." (Brook, 1987:7) In one of the very few references to Stanislavsky in Brook's book The Empty Space, Brook describes

  1. How do you explain the reaction of those who booed Pirandello and called him ...

    of creating theatre, and in doing so created Six Characters, where the audience is made to face reality and the human being is put on trial ("Can you tell me who you are?" 54). The audience is so forced to question themselves and their own lives.

  2. Outline Stanislavski's approach to the role of the director. Give practical examples of the ...

    The psychotechnique aspect of the System is what the actors work with inside themselves, as opposed to what the audience can directly see them doing on the outside e.g. walking across the stage. The psychotechnique creates the atmosphere which can be felt by the audience and the inner actions are also linked to the actions which an actor performs externally.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work